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A dialogue without words
with breath withheld, even,
the only sound produced
by the press used for printing
monoprint, www.meurtant.exto.org
2023
detail of "Ocean Park #98"
oil and charcoal on canvas, 1977 by Richard Diebenkorn
from private collection
presented by Berggruen Gallery
San Francisco, California
Detail of Untitled, 1987
Acrylic, gouache, crayon, and graphite on paper
by Richard Diebenkorn
presented by Berggruen Gallery
San Francisco, California
(as if Diebenkorn embraced the panorama with Photoshop poster edges filter)
detail of "Berkeley #31"
oil on canvas, 1955
by Richard Diebenkorn
from private collection
presented by Berggruen Gallery
San Francisco, California
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair.”
― Charles Dickens, "A Tale of Two Cities"
28 Jan 2021; 07:48 CST
(as if Diebenkorn embraced the panorama with Photoshop poster edges filter)
detail of "Berkeley #31"
oil on canvas, 1955
by Richard Diebenkorn
from private collection
presented by Berggruen Gallery
San Francisco, California
"Abstraktes Bild"
oil on linen, 1984
by Gerhard Richter
from the Fisher Collection
San Francisco Museum of Modern Art
San Francisco, California
"I'm not an abstractionist... I'm not interested in the relationship of color to form or anything else... I'm interested only in expressing basic human emotions - tragedy, ecstasy, and so on. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you are moved only by their color relationship, then you miss the point." - Mark Rothko
According to Mark-Rothko.org, he used "rectangles and luminous colors to evoke varied moods and emotions to the ones looking at these paintings." The organization recommends that viewers "study his works at a very close range" so they can feel and empathize with the emotions provoked by the paintings.
Read more about Mark Rothko at www.mark-rothko.org
2017APR28 SLYNNLEE-131947
(as if Diebenkorn embraced the panorama with Photoshop poster edges filter)
detail of "Berkeley #31"
oil on canvas, 1955
by Richard Diebenkorn
from private collection
presented by Berggruen Gallery
San Francisco, California
The installation of John Chamberlain's 23 sculptures in painted and chromium-plated steel is located in the former Marfa Wool and Mohair Building in the center of Marfa. The building was architecturally adapted by Donald Judd and installed by Chamberlain and Judd. Eight of the exhibited works (Falfurrias through Glasscock-Notrees and Panna Normanna) are from a group of ten sculptures constructed on a ranch near Amarillo, Texas, between 1972 and 1975 and are loosely named after towns and counties throughout the state. The works were purchased by the Dia Art Foundation and given to the Chinati Foundation in 1986.